Posts Tagged ‘Liquid Imagination Online’

What have we (my dynamic team of editors, artists and publishing gurus) accomplished in the last year at Liquid Imaginaton Online? For starters, for November our website received 72,404 total internet hits. We began a marketing program to promote New York Times Bestselling author David Farland’s newsletter for writers. I, personally, graduated college with an associates degree in journalism to be applied to marketing, and I also obtained the National English Honor Society’s Sigma Kappa Delta. Besides that, the fruit of a novel-seed I planted a ways back will be published through Dopamalovi Books.

We also published a werewolf anthology in several different formats for your convenience. You can hear the wolf howling here:

Below are the stats of Liquid Imagination Online ( The stats can be found here: Within the pages of LI, you may glimpse something beautiful, you may get a whiff of magic. That’s because dreams are sealed within each webpage, like the dreams within your own heart. We, at LI, believe we can fly. We believe in the magic of stories and poetry and artwork. We embrace technology in all its forms. And while many other webzines, ezines, publications and print journals are folding, Liquid Imagination will be around for a long time.

This is the future! This is 2012! And we represent what you’re reading!

Never forget: we’re all in this together!


Monthly Statistics for November 2011
Total Hits 72404
Total Files 39976
Total Pages 14656
Total Visits 6285
Total KBytes 1148240
Total Unique Sites 4477
Total Unique URLs 1879
Total Unique Referrers 1169
Total Unique User Agents 1221
. Avg Max
Hits per Hour 107 2538
Hits per Day 2585 6571
Files per Day 1427 3525
Pages per Day 523 961
Sites per Day 159 485
Visits per Day 224 283
KBytes per Day 41009 109470

Liquid Tweets

Posted: November 21, 2011 in Uncategorized
Tags: , , ,

Here’s the winners of the David Farland Daily Kick in the Pants Writing Contest hosted by Liquid Imagination. I included the email from JAM, telling me about them, because it was well put together and had some valuable insights at the end.
Hi, Mr. Farland!!

For the winning stories just go to this link:

Directly above the announcement about the winners are the stories:

Eldritch by Walker (This is the 1st place story by Deborah Walker called “An Eldritch Restoration”).

The Short Straw by Wolf (This is the 2nd place story by Mark Wolf called “The Short Straw”).

The Minotaur by Mannone (This is the 3rd place story by John C. Mannone called “The Minotaur”).

The writers’ “essays” about how they used your Daily Kick newsletter follow each story. For your convenience I’m inserting them here.


1st place Deborah Walker’s An Eldritch Restoration

Essay: Layering (David Farland “Kick” 10 Jan 2011)

David Farland’s Daily Kick on the 10th January 2011 described a layering technique, inspired by his painting. A writer using this technique blocks out a scene, and then make several passes though the work focussing on different aspects of the craft. (This is also a good way of overcoming writer’s block.) I used this technique to ‘kick’ an older story, making several refining and editing passes: for the depth of penetration for my MC, for world-building, and for characterisation. I found layering to be a very useful technique and would recommend it to other writers.


2nd place Mark Wolf’s The Short Straw

Essay: Change (David Farland Kick of 5/31/2011)

This Kick made me consider how I might write a short story concerning change and do it in such a way as to be unique in plot and stretch my writing skills. I wanted to make my character face tough obstacles and overcome them.

I decided to start with a dragon and see what I could do in his life for change.

What does a dragon want? What will he do to get it? What obstacles (if any) can hinder a dragon in getting what he wants? Are they valid obstacles?


3rd place John C. Mannone’s The Minotaur


Initially, “Keeping the Suspense Alive” (1/10/2011) was key in the development of my suspenseful paranormal fiction short story, “The Minotaur.” But “Strategies for Killing Your Babies” (7/30/2010) was most influential since I had to be sure that killing my main characters was justified. I applied most of the eight points, but the fourth did the trick. I took MCs “through the dark tunnel and into the light;” gave them immortality. Also, I was able to justify my storytelling aspects with “Narrative Voice” (1/6/2011). I applied the Tolkien philosophy “to fracture the timeline” of the story, and the point of view.


You know, Mr. Farland, to be honest there are a lot of writers out there who are too sure of themselves. They act like they’ve got the answers, they act as if they know how to write. My response to them is this: “Are you a New York Times Bestselling author? If not, you might want to check out David Farland’s ‘Daily Kickts.’” What’s even funnier is that I’ve read some small-press books that could have used the advice from your “Daily Kicks.” Remember the one in which you wrote about location? You said having your characters go to McDonalds in a tiny town isn’t exciting. But I’ve not only read scenes like that from small-press editors, I’ve read stories set in huge metropolises in which such a lack of description left me wondering why it even occurred in the city (take Chicago or New York City, for example).

Anyway, thank you very much for allowing us to promote your newsletter! I like all the stories. The 3rd place story’s chase scene heightened suspense for me personally. The 2nd place story dealt with human emotion (and characterization) as a dragon learns what it means to be human, before learning what it really means to be dragon. And the 1st place story was just such a creative and awesome idea, with the heart of the climax is the main character giving up the illusion offered by her fairy suitor for the sake of grim reality and the children.

God bless!

John “JAM” Arthur Miller


I have a story in this week along with an author spotlight.


New Writing Contest, $1,000 Pot

My new novel is coming out and can be preordered now and to celebrate I’m hosting a writing contest. It’s not quite ready to start, but I thought I’d give you some advance notice. You can find out about it at

Online magazines, sometimes referred to ezines, are everywhere. They spring up, last less than a year, then become defunct. It
happens all the time. Some pay contributors ‘something’ for their hard work, and there is nothing worse for a writer or poet than seeing a publication announce its demise. It’s difficult enough to get published without still yet another market folding. So I’m going to editors of online magazines for tips about not only how to survive, but how to be successful.


Who am I to tell you what to do? The facts speak for themselves (and actions, as I constantly inform my children, speak louder than
words). Liquid Imagination Online received 66,647 internet hits for the month of August, with a daily average of 2,149 hits. We received 6,520 total visits and 1,708 total unique URLs. We’ve interviewed award winning recipients of the Bram Stoker, Nebula and World
Fantasy awards. We’ve also interviewed nationally and internationally known artists, converging media and art forms.


How did we do it?


Well, there’s a keyword in that question: WE. But I’ll get to that later. For now let’s examine the fledgling ezine.


One person wants to begin an online magazine. Before I tell you what you SHOULD do, let me tell
you what you SHOULDN’T do:


Don’t expect readers to peruse a sloppy website; make it as organized and easily navigated as possible. Provide plenty of links; the more links the better.

Don’t publish poorly edited stories or poems. Nothing shouts LOSER or AMATEUR more than typos.

Don’t simply paste text in empty boxes and consider your work done (see No. 3 below).

Don’t do it alone.

Don’t give up.

Don’t use your publication merely to stamp your name and work all over the internet; your publication isn’t a medium to be used solely (or
even mostly) to promote the fiction you’ve written that nobody else wants.

Don’t immediately accept fiction or poetry written by other editors merely to try to get them to accept your own work, unless you want to remain an amateur.

Don’t give up (yes, this is a repeat).

Don’t do it alone (another repeat, but one of the most important DON’Ts because without
help, you won’t be able to copyedit and do some of the other DOs).


What you SHOULD do:

Get help. An old masochistic adage says, No man is an island. Another cliché says, You’re only as strong as your weakest link. Too many beginners try to do it all alone. They want to make all the decisions, and they want all the control. The best way to burnout is to do everything yourself.

Stamp this word on your forehead, preferably forward and backwards so that you can read it the mirror: copyediting. Too many small-press publications don’t copyedit. This means you will have to solicit help looking for typos. The best possible scenario is finding three people to look at each story you’ve accepted for publication. These people should be experienced writers and avid readers, and you should impress upon them that the editing has already been done. Did you hear that? THE EDITING IS ALREADY DONE! But most editors aren’t perfect, especially new editors, which is why copyediting separates the wannabes from quality publishers. Your copyeditors should realize that they’re not to
workshop the story, change scenes around or edit out characters; your copyeditors are to find mistakes only and highlight them, sending the
manuscript back to the editor for finalization. Not doing this implies that you’re not serious about publishing a quality product, and probably indicates that you’re in it only to promote your own writing. Also, if you don’t do this but are promoting your own writing (above and beyond the other contributors in your online publication), it’s probably riddled with just as many typos as the other stories and poems, and you’re an amateur.

Converge as many media forms as possible within your online magazine; you should enhance your fiction or poetry with art, photographs,
audio or video. Readers today are spoiled by the eye-candy of video and imagery; you cannot compete without providing the same eye-candy. Remember: art is NOT eye-candy, it is an art form and you must get expressed permission from photographers and/or artists to use their work.

Create an online presence. Exchanging banners with other publications seems to be popular, but we receive few internet hits from such exchanges. That means it’s not very important based on our experience. Instead, you should promote yourself through avenues much more powerful than the simple exchanging of banners with other online publication. Something guaranteed to bring in more internet hits than exchanging banners are active blogs. Remember, you can’t have an “active blog” without reading the blogs of others and leaving comments. An active presence on Facebook with a Facebook Page representing your publication is a good idea. You can hook your online magazine’s blog to
Facebook with Networked Blogs (located at Getting involved at is good, too. All this takes time, and if you’re an editor with only one person helping, you won’t have time to do all this (get help).

Go to the library and read books about marketing. What are the four types of marketing used today? The old adage (made popular by Field of Dreams) says that if you build it they will come. Judging by the online magazines that never hit their one-year-anniversary, this isn’t true. You have to do more than build superior product; you have to know how to promote it. And knowledge is FREE at your local library. If you sell
POD books, you would be wise to read about publishing. Everything you need is at your library, and if they don’t have it they can order it for you.

Prominence. That’s an important word, too. Seek prominent people to interview, to associate with. If you have a superior product (online magazine), then you won’t be embarrassed asking to interview award-winning authors. Trust me, I truly believe that reputations must be made before financial success happens. Our reputation at Liquid Imagination Online has been made—only time will tell if the rest of our plan falls into place (but it will).

Now that you’ve made it to your one-year-anniversary, step back with your team and create a mission statement. Your mission statement
should direct everything each team member does. Our mission statement is on the homepage at Liquid Imagination Online. Without a mission statement your online publication will go off on tangents. You need to be concrete and have steadfast purpose, hitting the same theme or style over and over. You also need to be unique, but I’ve found that many fledgling ezines (fledgling means less than a year old, but isn’t indicative of
quality) aren’t able to create their mission statement until they’ve hit the one-year mark. The reason is because the original idea of the original editor is enhanced, altered, changed and modified by each and every single team player joining the fray (copyeditors, artists, photographers, editors, web designers and layout, business directors, etc.).

You are not Superman or Superwoman. That means you are not the best person for each and every single job. For example, I’m a good editor
but I’m not GREAT! That’s why Kevin Wallis edits all the literary and speculative fiction at Liquid Imagination Online; that’s why Brandon Rucker edits all the micro-fiction at Liquid Imagination Online; that’s why Chrissy Davis edits all the poetry for us; and that’s why Sue Babcock directs our business, keeping us on a time schedule, while at the same time creating the fabulous layouts. I used to do all the web design, all the formatting and layouts. I’m proud of what I did. I used to edit, too, choosing the fiction. But why should my online magazine suffer because of
personal hubris? If someone is better at a singular task than me, why not turn that job over to that person? We’re not in this to pump up our fragile egos; we’re in this to produce something that will go around the world.

Lastly, (and I’m repeating myself again for emphasis), you cannot do this alone. If you want to leave a lasting legacy, your online magazine must be able to survive without you. If you are doing everything yourself or with too few people, you will burnout and everybody will forget about your online magazine. Contributors will become angry because you let them down, and they won’t be able to post links to their works that you published. You’ve not only let yourself down, you’ve let down the people working for you as well as every single contributor who ever took a chance submitting fiction or poetry to your online magazine. If I die tomorrow, there is no doubt in my mind that Liquid Imagination Online will survive in some form. Our mission statement guides us. We have multiple staff all working toward one goal. We can’t be stopped, and each member of our team is invaluable.

Lastly (this is the 2nd lastly), you must promote those who work for you in some measure. Since we’re producing a free online magazine for the public (usually intended to be a marketing device to entice readers to buy our products), you have to make it worthwhile for your staff. You have to promote them and any books they have, because it’s a two-way street. So, let me show you the best team players in the online community. In my mind, these are the best of the best. I’m not exaggerating. As I’ve said, ACTIONS SPEAK LOUDER THAN WORDS. I know that the overall presentation, layout, editing and chosen submissions speaks much louder than anything I can say. All of this (from the internet hits to the editing and artwork) is due to these highly qualified individuals:

Editor in Chief Kevin Wallis. He’s over all speculative and
literary fiction at Liquid Imagination
and his anthology of Beneath the Surface of Things has been endorsed by
heavy hitters in the publishing world.

Sue Babcock. She took over web layout and design from me,
completely transforming the entire online magazine. She’s also the business
director and knows how to use a mean whip to get us going (thanks, Sue). She
also learns whatever she needs to enhance the publication, whether it be
Photoshop or various software programs to enhance the web layout. Sue is an editor at our sister publicaion Silver Blade, too.

She really is

Chrissy Davis. Like Kevin, she’s been with us from the very
beginning and she accepts and edits our poetry. She has multiple books of her
own poetry for sale at Raven’s Brew.

Brandon Rucker. Not only is he a talented editor over our
micro-fiction, he’s an accomplished editor for Zoetrope-owned products and an awesome musician.
Visit Brandon’s blog at Brandon Rucker Writes.

Robert Eccles. Bob is our voice talent, a professional
anchorman who has revolutionized our fiction with his amazing voice. Beyond
that, Bob is an awesome horror writer who has had some close calls with the
publication of his short stories.

Jack Rogers. Jack is our resident artist. While he’s in
college fulltime now, he’ll be coming back upon graduation to help enhance the
poetry and fiction published at Liquid
Imagination Online.

Jezzy Wolfe. She’s one of our book reviewers, and Jezzy is
an awesome writer in her own right. Publishers are known to seek out her
crowd-pleasing material to include in anthologies and print publications.
Catch up on her blog here, or follow Jezzy on Twitter.

Stephen W. Roberts. Stephen is our second book reviewer, and
has a book out. He’s participated in editing at other publications and has
hosted blog-talk-radio programs. Learn all about Steve here, or check out
the Dark Fiction Spotlight he’s involved in.


Note: I have taken great pleasure in NOT editing this blog, in being as unprofessional as editorially possible. It feels… good.








It’s called convergence media. Pass it on!

Liquid Imagination

The story is called Wholly Matrimony by Kenton Yee. The voice talent is none other than the fabulous Robert Eccles, a talented horror writer in his own right. Sue Babcock, business director of Liquid Imagination, converged the media.


Liquid Imagination: Where Reality and Fantasy Blur.
by John “JAM” Arthur Miller

What awaits you in this issue? Well, in case you don’t know what this online magazine is all about, liquid imagination seethes within these web pages. As a “concept,” liquid imagination distills pure creativity. Here is just a small sampling of the liquid imagination our contributors have tapped into for your enjoyment.

For writers, we have New York Times Bestselling author David Farland’s “Daily Kick in the Pants,” and a contest centered around Farland’s highly-sought-after advice contained in his newsletter.

Pure creativity (liquid imagination) explodes through A.J. French’s Dreams and Nightmares, one of our more personable and original tales that introduces our speculative fiction section of this issue. A.J. Brown’s Flowers in Her Hair  shows a loving relationship set against a backdrop that consists of a (possible) horrific future. Cynthia Larson’s Lifeboat  hammers us with horror. In Paradiso, Georges-Olivier Châteaureynaud depicts a man ascending toward chimera-laden dreams. Châteaureynaud and his translator Edward Gauvin are up for a SFF Translation award (read about it here:

Pushing out further into this current of liquid imagination, we delight as Carol Hornak brings us into an intense level of “astral terror” in The Doll.   “It’s a sad day when the freaks can’t even work at the Freak Show,” is just one of the lines from Ally Malinenko’s sad and often brutally realistic depiction of bewitched circus life in The One Ton Woman and the Amazonian Half Man.   New memories replace  older memories in Jonathan Park’s science-fiction story True Blue. Paul Malone’s The Emperor’s Nose  brought to my mind what would happen if you used Chariots of the Gods  as inspiration for a story.

These fabulous stories belong to the genres of horror, fantasy and science fiction, and they ALL  overflow with liquid imagination of the authors who wrote them. But there’s more!

We have literary fiction and awesome poetry. We have interviews and articles. Right Brain Coach Dare Kent’s article What Do Cameras Look Like in Heaven? will make you ask yourself questions to jumpstart your creative process, and the apt title will have you looking up.

In short, liquid imagination is a concept describing the creative process. Whatever art is needed, whatever stories are required to meet the guidelines of any publication, you can be sure that pure creativity will bend like a river and flow like a current. It is pure creativity forming answers even before questions are asked and stories are told; the creative process is liquid imagination  becoming what is needed even before there is a need.

Enjoy the liquid imagination of our contributors this issue!

Liquid Imagination Mission Statement

Our mission is to publish a wide variety of art, creating visually stimulating publications of the highest quality that combine many artistic avenues, including graphic and digital art as well as traditional illustrations and paintings; speculative and literary fiction, micro-fiction and poetry; music and audio works; digital poetry and digital flash fiction; and other artistic forms. The publication of these convergent arts will also support our mission of advancing the education about and research of autism. Our books, DVD, online magazines and other media combine two or more art forms to create new hybridized art, augmenting traditional art with new technologies. Serving the art community and the autism community, and promoting quality artists are keystones for our company.

A.J. French wrote the Introduction to the fiction at Liquid Imaginatoin Online. It rocks! Check it out!

There is an adage that goes like this: Cream always rises to the top. To me, this denotes quality, and quality always rises to the top. Whether it’s writing or publishing, the qualified work of any kind will rise. To me, this represents Sue Babcock. As our new micro-fiction editor Brandon Rucker says: Sue is MVP of Liquid Imagination.

Sue first submitted a story for the first issue of Liquid Imagination Online. I remember workshopping the story with her many times, and each time I suggested a change, Sue enthusiastically took the challenge to improve her story until it was ready for publication. Her story, Second Chance, was awesome, but it also showed how Sue constantly worked hard to improve herself.

Eventually, she joined the team at Liquid Imagination. Now she formats the entire online magazine, is my legal business partner, and acts as Liquid Imagination’s business director. That means she keeps us on a timetable, making sure we maintain our schedule. She takes the audio voice of Robert Eccles and the artwork of Jack Rogers (or herself) to enhance the speculative stories Editor Kevin Wallis has accepted for each issue. Since joining Staff, the overall presentation and format of the online magazine has increased in quality because—as I’ve said—cream always rises. One of the reasons Liquid Imagination Online continues to excel in quality is because of the tremendous staff consisting of editors, voice talent, artists and especially Sue Babcock.

Now, let’s get to Three Questions with Sue Babcock:

1)      Sue, as an insider of Liquid Imagination, where do you see us in the future?

Oh, geez, you made me sound like I’m doing this alone. I’m not. We have such a strong team at LI – Kevin Wallis, Chrissy Davis, Brandon Rucker, John “JAM” Miller, Bob Eccles, and Jack Rogers, not to mention the writers who risk so much whenever they submit their work anywhere. Every submission I read, every story and poem I help publish, I think about the writer and the risks that we all take as writers, so that others can read our work. So thank you for that very generous intro.

One of the ideas we’ve kicked around for a while is a print magazine. Because of many factors (the economy, the increasing costs of print, the increasing popularity of e-books), we’re reconsidering this idea. E-books are coming. Not everyone embraces them, but experts are predicting that we are only one, maybe two, devices away from a boom in e-readers. And with improved e-readers, exciting new opportunities for e-publishing will emerge.

I like the possibilities that exist for enhanced e-books. It fits LI’s mission – to publish a wide variety of art, including graphic, digital, illustrations, paintings, fiction, poetry, music, animations and other art forms. Print limits us to the visual arts, while e-books allow us to include music, voice and animations. These are exciting times, and LI wants to be a leader in the realm of hybridized art.

I want thousands and thousands of people to see our site, I want hundreds to submit work (music, art, stories, poems), and I think it would be awesome if this all overflowed into an e-book format.

We may someday venture into print, but I see that as a subset of the possibilities of enhanced e-books.

2)      You have a PhD in Engineering, and you’ve stated that you have an analytical, left-brained way of thinking. But you’re very creative and a dynamic writer, too. With that in mind, how does a publisher/editor combine the best of both worlds for their publication? How does an editor allow for inspiration and creativity, yet enhance and fuel that creativity with analytical critiques to tighten, improve and exceed past issues in quality?

Some days when I’m struggling with the technical details of running the site or learning new ways to improve the online experience, my right brain chokes. When I’m in this mood, I see the structure of stories more clearly, the grammar and punctuation errors become more obvious, and the actual story – that creative spark that drove the writer – sometimes fades. For this reason, I often read submitted stories at least twice, once when my analytical brain is churning at top speed, and once when I’m relaxed and receptive to my muse.

As for combining the best of both worlds in LI, that is easier. I feel I’m the luckiest person in the world – I can build a website using all the new skills I’ve learned, all the technical stuff, all the latest technology and applications, but at the same time I get to stretch the very limits of my fledgling creative powers and put together art of all types into a unique and wonderful package. These limits – both technical and creative – grow each day for me. There’s no telling where it will take me and LI next.

3)      This might be the scariest question: how many projects and publications are you involved in, and what are their names?

LI Online ( currently is my most challenging publication. However, it may soon be surpassed in the technical challenge category by a new website and publication, Kids ‘Magination ( This brand new site, which is still under construction, is dedicated to encourage kids, particularly elementary school aged kids, to write fiction. We may expand into poetry, as well. The site has significant technical challenges because we want to be very careful with a site aimed at children. We must protect the participants from stalkers and inappropriate content. It’s a fun site to build, and it will grow  as I learn.

Kids ‘Magination is part of Silver Pen Writing Associate (, another site I help build and maintain. I’m a trustee and the vice president of SPWA, and I see so much potential with this non-profit organization, which will continue to expand as we develop new ideas.

I am the fiction editor at Silver Blade (, which is also associated with Silver Pen. SB and SP were started by Karl Rademacher, and I’m very proud of the stories and poems we offer at this publication of fantasy and science fiction. I love reading the submissions and discussing with the publisher the merits of each story.

Robert Eccles is the “VOICE” behind all the great fiction at Liquid Imagination Online, but he’s so much more than voice talent. Robert’s expertise not only encompasses his “radio voice” (which is also his income), but I began calling him “Mr. Necrotic Tissue” a while back, in a good natured manner, in honor of his achievements. You see, Necrotic Tissue is one of my favorite print magazine of dark fiction. It absolutely rocks! Among other things, it publishes entire stories told in exactly 100-words. Robert was getting into Necrotic Tissue’s micro-fiction department often. I think his micro-fiction was published 3 issues in a row.

Beyond the “voice,” beyond the nickname, Robert Eccles continues to write his brand of hard-hitting fiction with an noir voice. When he writes humor, his pieces produce belly laughs. When he decides to thrill you with horror, Robert’s uses words like finely chosen nails, words which he hammers into the reader’s mind. Sometimes it reminds me of the kind of hard-boiled fiction that made Mickey Spillane so popular, and at other times it’s a punch to the gut. Direct and potent, Robert asks no quarter in his stories, nor does he offer apologies—those who read his work will understand. Robert’s fiction makes you either cry from laughing so hard, or it pulls at the primordial strands within your gut and fills you with unease. When reading one of his horror stories at night, you’ll feel compelled to check the door to make sure it’s locked, and check the kids to make sure they’re okay. His hard-hitting fiction contains THAT kind of primordial, raw fear.

Now for Three Questions with Robert Eccles:

1)     Robert, you write micro-fiction, flash and short stories. What is your favorite type of fiction to write? What is the most published type of fiction you’ve written? And what about a novel?

I think I like coming up with a good short story the best. Micro and flash fiction pose their own unique challenges, which makes them a lot of fun for me. But if I can put together a story in two- or three-thousand words that really hits home, that gives me the most satisfaction. “Virtual Memory,” the story accepted for the Static Movement anthology “Local Heroes”, is one of those stories. As for what I’ve published the most, without question it’s flash fiction. I’ve had lots of stories in the 500-1,000 word range published online and in anthologies. But there’s definitely a special place in my heart for the 100-word bites I’ve had published with Necrotic Tissue Magazine. Since they pay for those stories at “pro rates”, and since I’ve had quite a few of them published (five so far and a couple more accepted), they’re special to me.

I would like to write a novel someday, but I’m not sure I have the patience for that. My immediate goal would be to have a collection of my short stories published. But if I do write a novel, I’ll have you write the description for the back cover based on the glowing introduction you wrote for this interview.

2)     You work as an anchorman. Is this in radio? And didn’t you just act as “voice talent” for Pseudopod?

I’m a news reporter and anchor at a public radio station in southeast Michigan. I’ve been in the radio business since 1985. When I first got into radio it was as a DJ. Then folks kept telling me I had a good news voice. Enough people tell you that, and you start to think they may be right. So I moved into news in 1991 and have been doing that ever since. I have had the opportunity to narrate some wonderful stories on the side for Liquid Imagination, of course, and for a few folks who put out podcasts. I’ve done a couple now for Pseudopod, one each for PodCastle and Transmissions from Beyond, a couple for Barry J. Northern’s Cast Macabre and a few for Every Day Fiction. I’m also providing a voice for a multiple-voice production of a story for Cast Macabre, which should be interesting.

3)     What do you consider your strongest point in writing?

I’d say humorous horror. Not everything I write is funny, of course. Some of it is very dark. But I’m decent at writing the funnier stuff, I think. As for lengths, I’d say those 100-word bites are my strong suit. They tend to be humorous, too.

Before I provide a few links to Robert’s wonderful fiction, I’d like to say to him, “Yes, I would love to write on the back of any novel/anthology you put out.”

Robert’s work appears here at these fine publications:

Flashes in the Dark 
Tiny Terrors 


Read ‘em and love ‘em!

Robert Eccles reads the majority of the stories at Liquid Imagination Online, and he’s a hell of a writer in his own right. Which is why he’s so awesome reading stories; he understands intuitively as a writer and lover of fiction what writers are trying to say, where to pause, how to use diction and genuflection of voice.

Tomorrow I’ll be posting “Three Questions with Robert Eccles” when the interview has been properly edited. Plus, I’ll have some links leading to Robert’s fiction at the end. You’re going to LOVE IT!